| 〈《我是黑人》重啟〉以一系列第一人稱書寫的字卡，檢討深植於身處歐洲之非洲移民的境遇中，前被殖民者矛盾的生活經驗。錄像長達近3分鐘的無聲開頭，代表著無居留與身分證件的非法移民遭噤聲的事實。歐洲，既是因也是果，無聲的影像體現眾多無名的非洲裔移民，被迫來到前殖民者的土地尋夢的無奈。本作品由羅‧卡米尼奧執導，試圖向法國電影導演暨人類學家尚・胡許的作品，〈我是黑人〉致敬，〈《我是黑人》重啟〉一作，遙遙呼應胡許的〈我是黑人〉影片基調中，那股離鄉背井和流離失所間，兼具滿溢情感與辯證的張力。然而，不同於其前輩的作品，〈《我是黑人》重啟〉以大量生活場景與日常活動的影像，彰顯非洲移民的能動實踐；刮鬍子、無目的的漫步、煮食以及聚會的場景之間，主角們冷靜陳述每日所遭受、富含種族與性別歧視的結構性暴力，以或多或少充滿疏離感的聲音，詮釋現實中異化的生活狀態，而與此同時並置的，則是一幕幕主角們與其塞內加爾社區的人們之間活靈活現的對話。卡米尼奧身為帶有民族誌眼光與社會敏感度的藝術家，其鏡頭以反身自省的感知能力，幽微地映照著〈我是黑人〉片中的關懷與尚未解決的問題。 |
Moi, un Noir. Reloaded starts with a series of intertitles examining the deeply rooted colonial paradox that African immigrants have experienced in Europe from the first-person perspective. The silent opening of the film could represent the muffled experiences of these undocumented immigrants. Europe is the cause as well as the effect. The silence embodies the collective voice of the numerous anonymous Africans forced to pursue their dreams in the land of their previous colonial masters and exploiters. Directed by Ro CAMINAL, who attempts to pay tribute to Moi, un Noir (1957) by Jean Rouch, a French filmmaker and anthropologist, Moi, un Noir. Reloaded resonates with the leitmotif of Rouch’s Moi, un Noir regarding the emotive but dialectic tensions between voyage and displacement. However, Moi, un Noir. Reloaded updates its predecessor with scenes of African migrants’ agentic practices throughout their daily routines and grounded mundaneness. Between scenes of shaving, meandering, cooking, and gathering, the voices of three protagonists calmly narrate moments of structural violence in terms of the racism and sexism they encounter on a daily basis. Collaterally, their somehow-detached voices discussing the alienation of reality go hand in hand with the vivid dialogue between the protagonists and their local Senegal community. As an artist with an ethnographic eye and societal sensitivity, CAMINAL uses his lens subtly to shed the light on the unresolved concern of Moi, un Noir with a sense of reflexivity. |
